Diploma Module 2 - Chapter 3 - Underside Couching

Traditional Sample

See M12.

A. Underside Couching Hand Stitch

For the background I painted 15 holes/inch canvas with Prussian Blue Hue Golden Fluid acrylic.

Using a previous stitch sample (Image 231 - MM45),  I took a rubbing from it to make into a paper cut-out to use as a template (MM46).

Using this as an outline I painted the shape on the canvas using Inscribe Pure Gold acrylic (MM47).

Onto the canvas I couched two threads:

• Lizbeth Size 20 thread - 100% Egyptian Cotton - Ecru #603, and
• cream rayon,

using DMC gold Fil Or a broder (72%viscose, 28% polyester) as the couching thread. This is a three-standed thread and I used all the strands just as they came off the bobbin without separating and reuniting them first, which I would usually do with stranded cottons.

And, two days of quite intense stitching later!!!

MM48 -  sample front 11cmWx12cmH

MM49 - sample back

MM50 - view of back of sample from side to highlight texture

MM51 - zooming in on back.

I had a bit of a false start as I cut off what I thought was enough of the top threads for the first row, but, of course, because of the underside couching I didn't cut them long enough.  I took it out and started again feeding the top threads from their bobbins without cutting them to stitch the sample. This had the advantage that there was no finishing off and restarting the top threads.  On canvas there is not really anywhere to hide these maneuvers.  The gold thread had to be restarted in various places and so I couched some of the top threads over this on the back so that the piece could be reversible.

Tensioning was a challenge, but probably here lies the creative beauty of this technique.  I definitely like the back of the sample better than the front.  You could have fun pulling the top threads below further than necessary to create lovely loops (I did this on occasion but pulled them tight as I went along (you do really have to watch every stitch) but they could have been left as they were.  

There are three distinct areas of pattern on the sample created using different stitch lengths.  The longer stitch lengths give creative possibilities depending on the tension. In MM51 you can see how the lines of gold are not parallel and alter depending on which side of the top thread you start the couching from and how tight you pull it down.

Diploma Module 2 - Chapter 2 - Metallic Embroidery - revisited

Couching with Metallic Threads - Machine Stitching

Following on from your feedback Sian, I prepared two more samples (you noticed there was space on the gold and silver samplers for more!).

MM42 - prepared in a similar way to MM34, here couching the gold wrapping threads with blue metallic thread in the negative, rather than the positive area.

In the two new samples here I stitched the outer rectangle first as the cardboard had become distorted as I stitched the centre in the previous samples and when I came to stitch the outer rectangle it had, therefore, been distorted too.

MM43 and 44 - similar to MM37/38, here silhouettes of birds trapped in the threads and machine couched down in a grid pattern.

MM43 and MM44 are pictures of the same sample.  In MM43 the sunlight was shining on the sample and it is difficult to make out the gull shapes.  In MM44, taken in the shade, it is easier to make out two of the gulls.  There are infact five.  To make them more clearly visible there should probably be fewer threads wrapped round the frame, leaving more dark ground visible and therefore giving the silver gulls a chance to shine through...if that is the effect looked for.  Otherwise some of the gulls will appear as if in shadow.  That's a possibility for me then.

Diploma Module 2 - Chapter 2 - Metallic Embroidery...continued

Couching with Metallic Threads - Machine Stitching

The samples in this section are on the same background as described in the first section of Chapter 2. Both gold and silver samples were made.

MM31 - 'gold' sampler

MM32 - gold raffia cut into thin strips and free zigzag machined to make a cord. This was then cut into strips and free machine zigzagged onto the ground.  When all the cords had been laid it was free machine zigzagged sideways over all the cords.

MM33 - gold raffia knotted and then machine couched onto ground with metallic blue thread using free machine zigzag.

MM40 - A  rectangular cardboard frame was cut out and wrapped with DMC Fil D'or 5g gold thread. A paper gull template was tucked into these threads and the threads free machine couched using the gull outline which was then filled. Free machine couching was used to give the sample a tile-like appearance by also couching the rectangular shape onto the threads (MM34).

MM35 - silver sampler

MM36 - various width strips were cut from crab paté carton and couched to the ground using Bernina 1015Sport machine stitch pattern 9, width 4, length 4 to for the initial stitching, and then the stitch length shortened.

MM37 and 38 - similar process to MM40 above but using Madeira Jewel holographic-effect thread. The threads were free machine couched using random gulls in flight shapes, made without a template. MM38 attempts to show how the holographic thread catches the light at certain angles.

MM39 - silver raffia strips couched to ground using a tailor's tacking foot stitch width 3.5, length 1. Some of the resulting loops have been cut while others left intact.

MM41 - short video showing sample MM19 and how it changes appearance in different lights.

Diploma Module 2 - Chapter 2 - Metallic Embroidery

Couching with Metallic Threads - Hand Stitching

The contemporary samples presented here are both silver and gold -  I felt silver was probably more in keeping with my colour palette.  To these I chose to add blue.

I mentioned in chapter one I had been drawn to encaustic tiles and wanted to give this appearance to the background for my samples.  Using calico, I brushed it roughly with dilute emulsion; gelli-printed it with Prussian Blue Golden Fluid Acrylic; gelli-printed over this with Inscribe Acrylic Pure silver/gold that had been textured using the non-slip matting you find in pound shops.  These processes were constantly changing the handle of the fabric, making it stiffer.

Rather than backing the fabric to add additional strength to give stability to the stitch work, I waxed it with paraffin wax.  On stitching it stood up well to the laid work and if the wax cracked, on heating with a hair drier it returned to its original state without having any effect on the metalwork - you did partially lose that lovely cloudiness where the needle went into the ground though.

MM15 and 16 show my finished samplers - 21cmWx18.5cmH.  Enlargements and explanations follow below.  In keeping with my theme I have attempted to give a feeling of bird to my samples...either by shape or by texture, e.g. feathers, wings, eggs etc.

MM17 -  Waitrose yoghurt pot top cut, scrunched and couched with silver and blue metallic thread using Cretan Stitch.

MM18 - Sheer grey ribbon couched in silver with random cross stitches and in blue metallic with fly stitches.

MM19 - Twilleys Golderfingering couched or nué with blue metallic and Madeira Jewel holographic-effect thread. MM20 gives a view from a different angle where the blue and silver become more distinguishable.   On completion, holes were made in the calico with an awl and the Goldfingering threads were taken to the back, the wax heated with a hair drier and the ends pushed into the melted wax.  This did work...sort of.

This sample is 8cmWx8.5cmH. Yes, this took hours, about 8.

MM21 - Philadelphia Cheese top, crimped using crimping machine and couched down, the curved sample using blanket stitch.

MM22 - Ferrero Rocher wrapping folded in strips, rolled and then smoothed using a Clover Finger Presser. (Simple but very versatile tool - don't know how I managed without it!)  Couched using linen thread.

MM23 Gold wire plaited; couched with linen thread using stitches that formed ladders between the rows of gold wire; and then raised chain band using these ladders.

MM24 - Jap gold knotted and couched using linen thread.

MM25 - Ferrero Rocher again (it was a very big box), this time without smoothing. Basketwork in linen thread firstly using more Ferrero Rocher papers and then Jap gold.

MM26 - wire circles couched with blue metallic thread.

MM27 and 28 - raised work using cardboard. Jap gold, blue metallic thread and  natural mercerised cotton.

MM29 - check purl and linen loops.

MM30 - wire wrapped round cocktail stick to form 'purl' leaving long ends. Threaded purl and couched ends with fly stitch using linen thread.

Diploma Module 2 - Chapter 1 - Historical Study

The study of Opus Anglicanum presented here will be bound into a book.  These are my A3 pages for the illustrated study.  Notes are given, as appropriate.

MM1 - Title Page - Lombardic lettering of the time.  Tea stained page, lettering using Derwent metallic pencils.

MM5, 7, 8, 9, 11 follow on from MM6.  I started looking for design sources from other branches of the arts from the period, particularly birds (MM8).  This continues my work on gulls from Module 1, broadening it to birds in general as I didn't find any reference to gulls from the period, perhaps as they weren't symbolic, unlike the 'Pelican in her Piety' and others.  I had hoped to study the Cope of Passion from Saint-Bertrand-de-Comminges Catherdral Treasury as it depicts 32 varieties of birds, along with 60 animals and 100 figures, but images were scarce or poor - I might just have to visit.

I was particulary drawn to the encaustic tiles of the period (especially as I'm trying to make use of my wax pot).  It wasn't until I started looking into this that I discovered the design on 'encaustic' tiles was not made from a beeswax glaze but from the use of different coloured clays, so they are, infact, inlaid.  That's interesting, but it doesn't alter the fact that I still like the designs.  Other smaller images are fragments from the time.

MM12 - stitch sample.  Fine linen backed with coarser linen.  Design from encaustic tile in St Mary's Church, Carew Cheriton.  From the top,

• surface couching
• underside couching
• split stitch, using one strand of stranded cotton.  Diameter approx. 14mm. Time taken 2.5 hours, facilitated by use of magnifying light in daytime.  I stand in awe of Mabel of Bury St Edmunds and the other medieval embroiderers. I understand all too clearly why there was a ban on night working to maintain the high standard of workmanship.